Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Cape Verde and from Bologna.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1973.
I'm losing my edge.
To all the kids in Accra and Lille.
I'm losing my edge to the art-school Shanghai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing These Immortal Souls to the techno kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Aaron Thompson. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
The Last Poets,
Gang Gang Dance,
In Retrospect,
Bill Near,
Guru Guru,
Drive Like Jehu,
Don Cherry,
Kerri Chandler,
Notorious BIG live in Amsterdam,
Juan Atkins,
Leonard Cohen,
Robert Wyatt,
Model 500,
Louis and Bebe Barron,
Magazine,
Donald Byrd,
Country Joe & The Fish,
The Mighty Diamonds,
Pete Rock & C.L. Smooth,
Siouxsie and the Banshees,
Sad Lovers and Giants,
The Wake,
the Soft Cell,
Sam Rivers,
Popol Vuh,
Bobbi Humphrey,
Josef K,
Japan,
X-102,
Jerry's Kids,
The Moleskins,
Kenny Larkin,
The Remains,
James Chance & The Contortions,
Wings,
Wighnomy Brothers & Robag Wruhme,
Todd Terry,
D'Angelo,
8 Eyed Spy,
the Sonics,
Iggy Pop,
Al Stewart,
Scratch Acid,
JFA,
Ultra Naté,
The Detroit Cobras,
The Gladiators,
Yusef Lateef,
The Golliwogs,
Avey Tare's Slasher Flicks,
Fifty Foot Hose,
The J.B.'s,
Max Romeo,
Donny Hathaway,
Tubeway Army,
Junior Murvin,
Connie Case,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.